black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published / by / S.F. Adams, Oak Bluffs, Mass."; handwritten in black ink on verso "Dr. Tucker's Cottage / Ocean Ave."; Queen Anne style cottage with tower located at NW corner (right side of image); man standing on one of walkways in front of building
Black & white print; full length portrait of a man holding a hat and cane in an outdoor setting (Andrew Jackson at his home, The Hermitage). Facsimilie of sitter's signature serves as the title.
Considered to be the last formal image of Lincoln from life, this lithograph depicts the President in an ornate White House ballroom. Here, on March 4, 1865 from 8 to 11 P.M., over 6,000 people celebrated the second inauguration of President Lincoln. Prominent guests greeted by Lincoln and the First Lady include Vice President Andrew Johnson, General and Mrs. Grant, Gen. William Tecumseh Sherman, Gen. Joseph Hooker, Gen. George Gordon Meade, and Sen. Charles Sumner.
This well-known image was issued as an incentive for subscribers of Frank Leslie’s Chimney Corner Family Newspaper, but could also be purchased separately for $3.00. Frank Leslie (1821-1880) was a British-born publisher and engraver, who produced several newspapers and journals in the mid-19th century. Leslie's Illustrated Newspaper was popular during the Civil War for its detailed battlefield illustrations. This print was copyrighted April 8, 1865, a week prior to Lincoln’s assassination, and was dedicated to the First Lady, Mary Todd Lincoln. As an added incentive, a key indicating the identity of 37 prominent guests was issued in Volume 4 of the paper, although the assassination occurred before that issue appeared. After Lincoln’s death, the great demand for Lincoln images led rival printers to pirate the scene, altering it slightly before publishing it as their own. Lithographer Anton Hohenstein and publisher John Smith titled their controversial copy, “Abraham Lincoln’s Last Reception.”
This print was produced by Sarony, Major, & Knapp. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, developing his own cabinet-sized camera. In 1846, he partnered with another former apprentice of Nathaniel Currier, Henry B. Major, and the duo created lithography firm of Sarony & Major. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Sarony departed the business in the mid-1860s to pursue photography fulltime and by the 1870s, the firm shifted it production from decorative prints to the more profitable field of advertising. It expanded to become the conglomerate known as the American Lithographic Company, which produced calendars, advertising cards, and posters. In 1930, it was bought out by Consolidated Graphics.
This hand colored commemorative portrait bust of Abraham Lincoln lists the President’s birth and death dates below his image. (February 12, 1809 – April 15, 1865) It also includes images of three of his past residences: his childhood home at Knob Creek in Kentucky, his house in Springfield, Illinois, and his first home in New Salem, Illinois.
Edward Hooker Ensign partnered with Erastus Bridgman and Thomas Fanning in 1854, forming Ensign, Bridgman, & Fanning. Their business operated until 1863, when Fanning left, and then it continued as just Ensign & Bridgman until 1868. Based in New York City, this firm primarily produced illustrated maps, but produced this commemorative Lincoln print after his assassination, capitalizing on the popularity of the late President’s image.
This print depicts a meeting between Grant and Lee near Appomattox Courthouse on April 10, 1865, one day after Lee’s surrender. In the center of the scene, the two generals sit on horseback, amicably conversing with one another. They are flanked by two groups of Union officers on horseback, many of whom are identified at the bottom of the print. Large numbers of assembled troops are visible in the background. Also featured in the background is a two-story house, presumably the McClean House, where Lee signed the terms of surrender. Below the illustration, a caption clarifies that the print was based on an “Original Picture by Lieut. Col. Otto Botticher in the Possession of General Chas. G. Halpine of New York.” The artist, however, was not present for this historic event, and the scene is purely imaginary, as Grant and Lee only met inside of the McLean House to discuss the terms of surrender.
Otto Botticher was a Prussian immigrant artist who served as an officer in the Civil War. From 1853-1854 he partnered with Thomas Benecke as a portrait painter and lithographer. Prior to the Civil War, he produced several paintings and lithographic plates of military subjects with the aid of daguerreotypes and ambrotypes, early forms of photography. His work displays precision and excellent attention to detail, indicating that he probably had formal draftsmanship training. He enlisted along with his sons, in New York City on July 22, 1861, the day after the First Battle of Manassas, in the 68th New York Volunteers Infantry (Cameron Rifles) and by August he was given the title of Captain. He was captured by Confederates March 29, 1862 near Manassas, Virginia and was in at least 2 prisoner of war camps – Libby Prison in Richmond and Salisbury Prison in North Carolina – before being paroled during a prisoner exchange. He participated in the battle at Chancellorsville, and was wounded at Gettysburg on July 1, 1863. He chronicled his activity during the early years of the war and his time in Confederate prison camps in a series of sketches.
Louis Maurer (1832-1932), a German-born lithographer, designed this print after Botticher’s original painting. Maurer settled in New York in 1851. He worked under T.W. Strong, Currier & Ives, and Major & Knapp before beginning his own firm, Maurer & Heppenheimer. The lithograph was printed by Hatch & Co., a New York printing shop. George W. Hatch, Jr, was the son of an engraver and partnered with Charles Severyn in 1853, forming Hatch & Severyn. In 1855, George’s brother Warner joined the company and it was renamed Hatch & Co. The firm produced chromolithographs, certificates, and advertising. It reorganized as Hatch Litho Co. in 1887 but was out of business by 1889.
Black and white print depicting a panoramic view of Mount Vernon with outbuildings on each side. The river is visible in the distance on the left. People picnic and stroll on the lawn in the foreground.
Black and white print of a two-story wooden house on a street corner. A man (Abraham Lincoln?) and a child are standing inside the fence in front of the house. A carriage and men on horseback are in the street in the foreground and pedestrians walk along the street.
Description
This undated, black and white print of Lincoln’s residence in Springfield, Illinois, was most likely created in the period of high public demand for Lincoln images around the time of his assassination, during which many Northerners felt a desire to display a representation of the man they believed to be the savior of their nation. Lincoln lived in this two-story, twelve-room home from 1844 to 1861. In the print, men on horseback, women with parasols, and a horse-drawn buggy pass all by the residence on the road. A beardless Abraham Lincoln and one his sons stand near the entrance to the home.
On February 6, 1861, about 700 friends, neighbors, and well-wishers came to his residence to bid him farewell before he left for Washington. Lincoln departed Springfield on February 11, 1861, for his inauguration, but would never return to this home alive. His oldest son, Robert Todd Lincoln, donated the family home to the state of Illinois in 1887 and it was designated a National Historic Landmark in 1960.
Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints. The print was published by S.G. Lane at 21 Cornhill.
Color print of a two and a half story stone house and outbuildings in a rural setting. A stagecoach pulled by four horses is passing on a dirt road in front of the house. There is a small oval portrait of Robert Fulton in the center of the lower margin.
Color print, full length portrait of George Washington seated in an elaborate chair holding a quill pen. His arm rests beside a document on a table. Mount Vervon can be seen out a window in the right background. A red heavy fringed drapery is behind him on the left and the chair rests on a patterned carpet.
Color print of a farmyard scene depicting a house with dormer windows in the backround. Picket fence seperates the house from the yard containing several small out-buildings and farm animals.